"Une voix ivre de miel, une contrebasse, une batterie valise, des guitares acoustiques et électriques et un harmonica. La musique de Moriarty flotte entre folk, country, blues et cabaret, quelque part entre le Dallas des années 30, la Taïga russe et Paris" Moriarty’s fourth album starts where “The Missing Room” ended: at the threshold of another world – the realm of spirits, ghosts and wandering souls. It is not -however- an album about death, but rather a journey through a land known as the “Underworld”, or the “Afterworld”. In 2014, After a few years of touring, we opened our archives, our suitcases and notebooks filled with unfinished fragments, forgotten instrumentals and obscure lyrics. We found old tracks recorded on tapes (and dictaphones), captured in the backstage of theaters, hotels and remote hideouts. songs we had once improvised, then lost and forgotten (“G.I. Jesus”, “Reverse/Anger”, “Long Is The Night”…). Stories of love and loss we had written and recorded in the attic of a farmhouse (“Milena”, “Maybe a little lie”…). Riding bicycles through the summer rain in Kyoto, we sung aloud the story of a fallen man (“Ginger Joe”)… a few years later we recorded a first version of the song with the sorcerers of cajun, Mama Rosin. There was, also, a radio drama inspired by Bulgakov’s “Master & Margarita”, for which we wrote songs about demons, witches and dissidents (“Long Live The (D)evil”, “When I Ride”, “Across From My Windows”, “Fire Fire”…) back in our hometown, we settled down and let a few stories emerge in the cold December light, songs about fate, friendship and hidden secrets (“Diamonds Never Die”, “History of violence”)…
